Viktor Borisovich Shklovsky (1893-1984), one of the most influential personalities of the Russian Formalism, assumed a prominent role in the evolution of early Soviet cinema, distinguishing himself through his work as a scriptwriter at the "Third Factory". Considering that the latter period of his work has been little researched to date, this paper investigates the process of script adaptation of the episode of the recruit Sirotkin within Natal’ya Fedoseenko’s methodological framework, based on the categorisation of the ėkranizaciya. Written by Shklovsky at the end of 1920s - beginning of the 1930s, the adaptation is taken from F. M. Dostoevsky’s novel "Zapiski iz Mërtvogo doma" [Notes from the House of the Dead] of 1861-1862. In order to trace the evolution of the textual form of the episode, a comparative analysis of the extract is proposed, as described in Dostoevsky’s work and in the first four versions of Shklovsky’s screenplay "Mërtvyj dom" [The House of the Dead], which formed the basis of the 1932 homonymous feature film directed by Vasily Fëdorov.
Quattro riscritture di "Mërtvyj dom". Il Sirotkin dostoevskiano nella sceneggiatura di Viktor Šklovskij
MARTA CAPOSSELA
2024-01-01
Abstract
Viktor Borisovich Shklovsky (1893-1984), one of the most influential personalities of the Russian Formalism, assumed a prominent role in the evolution of early Soviet cinema, distinguishing himself through his work as a scriptwriter at the "Third Factory". Considering that the latter period of his work has been little researched to date, this paper investigates the process of script adaptation of the episode of the recruit Sirotkin within Natal’ya Fedoseenko’s methodological framework, based on the categorisation of the ėkranizaciya. Written by Shklovsky at the end of 1920s - beginning of the 1930s, the adaptation is taken from F. M. Dostoevsky’s novel "Zapiski iz Mërtvogo doma" [Notes from the House of the Dead] of 1861-1862. In order to trace the evolution of the textual form of the episode, a comparative analysis of the extract is proposed, as described in Dostoevsky’s work and in the first four versions of Shklovsky’s screenplay "Mërtvyj dom" [The House of the Dead], which formed the basis of the 1932 homonymous feature film directed by Vasily Fëdorov.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
